Chicago - Stone of Sisyphus (XXXII)
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Free Music Notes for Stone of Sisyphus (XXXII)
Free Music Review: Truly a lost treasure that has finally gotten it's due
Hit: 5 Stars
The Good
The long-shelved Chicago album finally gets it's day in the sun. If your unfamiliar with the back-story, let me fill you in. Stone of Sisyphus was set to be Chicago XXII back in 1992. Chicago was riding high on a string a chart busting ballads. With all the success and spoils the band figured it was time to get back to their roots a bit. Now that they were selling tons of records, perhaps they could have a little more creative freedom. Warner Brothers Records felt different. After handing in the final copy of the album, Chicago was told the label would not support the album because it didn't sound like Chicago. The band permanently shelved the album and duked it out with their label to get out of their contract. Although legend has it that the situation was more about the bands dispute over a deal concerning their back catalog, and this album was used as an excuse. Moving on....
Stone of Sisyphus has been floating around in the underground for years. various tracks have popped up on the internet as well as Chicago compilation albums. Sixteen years after it's conception, Stone of Sisyphus is finally here courtesy of Rhino Records (who oddly enough is owned by Warner Brothers Records - - insert head scratch here).
The album's title track is a typical Chicago up-tempo track, albeit with more brass than they ever used in the eighties and early nineties. They rhythm and lyrics are quite hypnotic. "Bigger Than Elvis" is a piano based ballad that kind of dates the band a bit, but is still full of great vocal harmonizing. Funky guitar tones and a swing brass groove dominate "All the Years." "Sleeping in the Middle of the Bed" has kicks up the soul with enduring vocals and pounding drums.
The ballad "Let's Take a Lifetime" surely would have found its way on the the charts back in 1992. "Here With Me (Candle for the Dark) " adds a little more power to it's balladry, and would have also been a hit I believe. Included in the Rhino version are three demos ("Love Is Forever," "Mah-Jong," and "Let's Take a Lifetime) and an alternate version of "Stone of Sisyphus." The demos are great. They are so raw and basic compared to the final versions. It's great to hear the difference.
The Bad
I liked the chorus of "Mah-Jong," but the title and subject is a bit odd. The band really takes a chance with a rap-style vocal on "Sleeping in the Middle of the Bed."
The Verdict
I have to agree that this is not a great representation of Chicago circa 1992. But if you've stuck with the band since then, this is what Chicago is today. More brass, more diversity, and signature melodies and hooks dominate Stone of Sisyphus. Don't get confused though, this is not Chicago's greatest work, but it is truly a lost treasure that has finally gotten it's due. By the way, what happened to Chicago XXXI?
Free Music Review: Lives Up To The Hype
Hit: 5 Stars
Well, by now, if you're a Chicago fan, you've read up on the back-story, so I'll save you the history lesson here and get to my thoughts on the music.
In short: this stuff lives up to the hype.
A few provisos. First, if you think Chicago died when Terry Kath shot himself, STONE OF SISYPHUS is not for you. Second, if you think Chicago died when Peter Cetera quit, STONE OF SISYPHUS is not for you. Third, if you don't like Jason Scheff and/or Bill Champlin, STONE OF SISYPHUS is not for you--they're all over this album. Finally, if the exclusion of "Get On This" (a great track, by the way) works you into a fit, this version of STONE OF SISYPHUS is not for you.
If you're like me, though, and can accept those things--and if you've always preferred "Listen" to "You're the Inspiration," or "Sonny Think Twice" to "Hard to Say I'm Sorry"--then this is the Chicago album you've been waiting for.
The band brings its A-Game here. Want some upbeat nostalgia? Check out "All the Years." Want straight-ahead rockers? Check out "The Pull" and the title track. Feeling funky? Cue up "Mah Jong," or rap along with the fellas on "Sleeping In the Middle of the Bed." Yeah, there's a ballad or three, but good ones: "Bigger Than Elvis," "Let's Take A Lifetime," and the very catchy "Here With Me (A Candle For the Dark)." And then, there are a few songs that just defy description. My own personal favorite--and (imo) one of the best songs Chicago has ever done--is "Plaid." EVERYTHING that's good about Chicago is in evidence here, from the dense rhythms to the wailing brass, from the meaningful lyrics to the vocal harmonies. And Bill Champlin just sings the spots off of it.
There are, of course, other cool tunes--"Cry For the Lost" and "The Show Must Go On" are both really good--and the production by Peter Wolf is spot-on. Kudos must go to then-guitarist Dawayne Bailey for his significant contributions, but everyone--especially Robert Lamm, Champlin, Scheff, and James Pankow--really steps up.
Kudos, too, to Rhino for the packaging. The liner notes are detailed and informative (though I'd like to see a few Bailey quotes), and the cover design is stellar. The bonus tracks are interesting. While "Love Is Forever" doesn't really catch my attention (but that's just me), the demo of "Mah Jong" is a funky delight, every bit as good as the album cut in its own way--and that's saying something. The alternate take of "Stone of Sisyphus" is interesting, too; without the extra reverb, the horns sound much cleaner.
Hey, since the late 70's, I've heard Chicago fans asking, "When are they going to cut loose again?" When I first (admittedly) obtained my bootleg copy of STONE in 2000, I would say, "They TRIED in 1993." Now I can say, "They HAVE. Check out THIS CD."
Free Music Review: CHI Flies High (Again) No Lie!
Hit: 5 Stars
Chicago has always ben an enigma. A band with a multitude of musical talent--and disappointment to boot.
They have been dogged by the initial splash and huge success which left the bar ridiculously high for them. Of course the trappings of that success and the tragedy and departures have left this genre-bending band in a state of chaos (non linear change, to be exact).
For years, they got caught up in the corporate greed, hypocrisy and sheer cruelty of the music business. They were forced to become what they were never meant to be: a hit machine and purveyors of simple entertainment.
In 1993, some fresh air, in the person of Peter Wolf,gave them a way back to who and what they truly were: a risk-taking, multi-dimensional collection of jazz, rock and yes, political energy--driven by musicianship really seen in the Pop world. They embraced the opportunity, and created a work that many are coming to see as their best effort--at least since Chicago VII.
Sophisticated rock chords, fueled by jazz and rhythem and blues--with lyrics and vocals that told compelling stories, about love, peace, longing for joy and the day to day experiences of people.
They recorded what they thought of as Chicago XXII, and recaptured an inner happiness and energy that was lost amid the drugs, sex, mindless ballads and forced commercialism of the 80s and 90s. All one has to do is listen to the lyrics on songs like All the Years and The Plaid to hear their pain, and how they howl at the moon--in this case--the so called experts that they surrendered to.
The first track, Stone Of Sisyphus, hits you right in the face--immedately--with a horn riff introduction reminiscient of Introduction. Robert Lamm, who's vocals have not been as good since Chicago II, quickly gives the message, musically, that is the Chicago you know and love. He then delivers sweet, nostalgic notes on Here With Me, a song that evokes the same feelins as Beginnings did so very long ago.
Look, enough people have written lengthy reviews of all the songs. All I can say is that in these diificult times, to be surprised, delighted and touched by music that SAYS SOMETHING, in a superb musical way, with productions that use all of their talents, is a remarkable experience to hear.
The Greeks have a definition of 'Joy" which states, 'to use your full range of powers along lines of excellence.'
Stone Of Sisyphus exemplifies this!
Please read the liner notes, sit back, and let the music take you to a place where Chicago used to live. For me, its home...
Free Music Review: Glad SoS Finally Rolled to the Top
Hit: 5 Stars
It's easy to see why Warner Bros. Records pulled Stone of Sisyphus 15 years ago: the same reason that made Chicago a super group in the 1970s -- creativity. Like many, I'd heard the praise from owners of bootlegged discs that circulated, had heard the title track on the Canadian Overtime CD and slightly different versions of Sleeping in the Middle of the Bed and All the Years on Robert Lamm's solo discs, so I was pleased to learn that Rhino was releasing this now near legendary disc, all the original tunes save one.
This disc is a throwback to Chicago's early years, sans Terry Kath's influence, when they wrote and recorded uncensored by record executives. As on many of Chicago's early releases, the best tunes on SoS are those that break the rules of contemporary music, push the envelope, don't adhere to the formula that the suits require. Prior to SoS, Chicago had fallen into a rut of writing a string of top 40 hits that received plenty of airplay on adult contemporary radio stations but left the band creatively flat.
From the title track, a driving rocker with a nearly frantic rhythm section, to the funked up version of Mah-Jong, All the Years (reminiscent of some of the ever-social conscious Robert Lamm's best penned tunes) and Sleeping in the Middle of the Bed, a heavy hip-hop tune with that unmistakable Chicago influence (if not the best tune on the disc certainly the most creative), this disc definitely deserved to be heard and Kudos to Rhino Records for making it happen.
In addition to several bonus tracks of alternate takes, other notable cuts include The Pull, Here With Me (a Candle for the Dark), Cry for the Lost, Plaid and The Show Must Go On (the latter two with a distinct anti-corporate theme) -- all unmistakably Chicago but lacking the formula responsible for the sad state of today's music industry.
The horn charts are spectacular, forging ahead with hot, creative riffs that recall the sound that propelled this band to one of the best-selling bands of all time.
Guest artists include The Jordinaires and Jerry Scheff on Bigger than Elvis, Jason Scheff's tribute to his father, who once played for Elvis, and producer Peter Wolf.
Also included with the disc are copious liner notes with comments from band members.
Highly recommended.
Free Music Review: Best studio Chicago album in ages. Shame it took so long!
Hit: 5 Stars
Back in the early 90's I was a big Chicago fan. They had kind of moved past the ballady stuff they had in the mid 80's, and became an interesting band again. However, they were still mostly dominated by the ballad. So after Chicago 21 in 1991, the band issued a statement saying they wanted to move away from that kind of music, they wanted to do something new, something they really "wanted to do". So they started work on what became this album. However, the record label didn't like it. The entire story is fairly convoluted, but the band and the record label didn't see eye to eye, so the band said "the heck with it", and took their record and didn't deliver it, or the label refused to release it (depending on who you talk to) Either way, it never came out. As the years passed, and more albums came out, Sisyphus became something of a legend. The band refused to talk about it, the tracks were never released, and it was widely bootlegged.
I had a copy of this for a long time, and really did enjoy it. It was rather experimental, didn't sound like "usual Chicago". In early Spring of 2008, I was rather shocked to see it on the coming list from Rhino records. This was cool, because the boot I had was "OK", but it's never the same as a cleaned up version, properly released. On top of that, the official release has four demo versions of tracks. I didn't listen closely to see if they were bootleg versions or not. Additionally, there's one track that remains from the bootleg that is not on the final version, so it's not 100% completed, but that's a nitpick, really.
The album is great. It still sounds like "Chicago", but not like any traditional Chicago sound. There's a lot more funk and bass in this recording. Several tracks are quite awesome. Thing is, it's probably not for everyone. While I really like the recording, it has that feel of "acquired taste". If you're a Chicago fan though, you probably would like it. Take a shot.